Leeds, UK

Tai Shani, Dark Continent: SEMIRAMIS, 2018, mixed media. Installation view. Photo: Jules Lister.

Tai Shani, Dark Continent: SEMIRAMIS, 2018, mixed media. Installation view. Photo: Jules Lister.

Tai Shani

The Tetley

Tai Shani, Dark Continent: SEMIRAMIS, 2018, mixed media. Installation view. Photo: Jules Lister.

“Dark Continent: SEMIRAMIS,” Tai Shani’s exhibition at the Glasgow International festival this past spring—a four-day event that included actors performing the artist’s scripts within a sculptural installation—was roundly praised by critics, so it was interesting to see her subsequent exhibition in Leeds, which expanded on some of the ideas deployed in that project. “Semiramis” envisioned a kind of city of women with twelve key characters that Shani has developed over the past four years. Occupying the entire building, the show extended from the downstairs foyer—where literary sources such as The Book of the City of Ladies by Christine de Pizan (ca. 1405), Woman on the Edge of Time by Marge Piercy (1976), and Gender Trouble by Judith Butler (1990) provided a sharp radical view of history—to the second floor, where she presented the installation she showed in

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